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LEARNING GUIDE Pre-Performance Activity pg. 2-7 • Introducing the Opera • Synopsis + Listening Links • Who’s Who in the Opera Performance-Day Activity pg. 8-9 • About the Opera TOC • Puccini: Builder of La Boheme Classroom Extensions pg.10 Table of Contents • Activate with Arts: Act it Out! • Reflecting on the Opera Experience General Information pg. 11-12 • About The Belk Theater • About Opera Carolina INTRODUCINGPre-Performance THE OPERA The Setting + Historical Context La Boheme - “The Bohemian” The word might sound familiar (“Bohemian Rhapsody” or “Boho-chic”) but what is a Bohemian? “To take the world as one finds it, the bad with the good, making the best of the present moment—to laugh at Fortune alike whether she be generous or unkind—to spend freely when one has money, and to hope gaily when one has none—to fleet the time care- lessly, living for love and art—this is the temper and spirit of the modern Bohemian in his outward and visi- ble aspect.” – Gelette Burgess Bohemian is a term for people in major European cities in the late 1800’s who chose to live non-tra- ditional lifestyles. They valued the arts, community with other artists, almost frivolous living in the moment, and often voluntary poverty. Let’s Talk About It Consider these discussion questions: Why do you think voluntary poverty was part of the Bohemian lifestyle? Do you think most of the famous artists, writers, and musicians you are familiar with today live in voluntary poverty? INTRODUCINGPre-Performance THE OPERA The Age of Realism Premier of La Boheme 1896 Romanticism Realism Modernism 1770s 1850s/1860s Early 1900s-1950s The life of Giacomo Puccini (1858 – 1924) spans a period frequently known as the age of verismo, or realism. The term refers to the artistic and literary movements in which artists and writers focused on everyday subject matter and treated it in a true-to-life manner. Opera, however, is rooted in myth or religious mystery, and traditionally it boasts superhuman heroes, grand riches and emotional excess. Verismo arose in the 1890s in Italy and emphasized literary naturalism, contem- porary settings, lower-class subjects and violent passions and actions. La Bohème, a realistic opera, depicts bohemians who are neither fanciful or fraudulent. They are real. Realism was not only a movement in the arts; it was a philosophical attitude and a response to the unprec- edented scientific and social changes of the 19th century, specifically the Industrial Revolution and scientific discoveries and their influences on society.The Industrial Revolution led to tremendous growth of cities and was responsible for bringing artists in contact with all classes of people. This destroyed the old assumptions that the lower classes were too dull as subjects for art. Developments in science, philosophy and the social sciences resulted in a revival of determinism, the idea that individuals have no control over their fate. Scientific discoveries threw doubt on religious ideals and discredited idealism in general. Materialism replaced idealism as the prevailing attitude. Puccini portrays his heroines espe- cially as figures who lack the power to control or change their fates. In La Bohème, for instance, Mimi’s love for Rodolfo is doomed by her ill health and his poverty. By the early 1900’s, discoveries in theoretical physics by Albert Einstein, Max Planck and others, contradicted the main ideas of realism. New developments argued that time and place were not objective facts, but a matter of perspective. Artists in all fields began to reflect this scientific overthrow of realism with a wide variety of new, non-objective, non-representational approaches. Post-realism, or Modernism, includes writers James Joyce and Thomas Mann; painters Pablo Picasso, Joan Miro and Piet Mondrian; and the opera composer Benjamin Britten. Realism, however, did not die. In fact, it continues to be a major force in commercial art today. Its influence can be felt in advertising, in films and on television programs, and in almost all popular fiction. Let’s Talk About It Discussion Questions: Can you think of an example of something from pop-culture that uses the rich and famous as its subject mat- ter vs. something from pop-culture that uses something more realistic? According to the text, what societal and cultural influences contributed to Verismo emerging as a movement (In other words, why did artists and writers start focusing on realistic characters and settings instead of rich and extravagant ones)? SYNOPSISPre-Performance Note: The listening pieces have been integrated into the synopsis to allow students to listen to the pieces in context of what is happening in the opera. Click the video to listen! Make sure you have the “Who’s Who in La Boheme” handout (on pg. 7) handy so you can explore it while you read the synopsis! The Story in Short A tragic love story about a poor, “starving artist” and a beautiful and equally poor seamstress and their group of artist friends. ACT I Paris, in the 1830s. In their Latin Quarter garret [a top-floor or attic room, especially a small dismal one, traditionally inhabited by an artist], the near-destitute artist Marcello and poet Rodolfo try to keep warm on Christmas Eve by feeding the stove with pages from Rodolfo’s latest drama. They are soon joined by their roommates—Colline, a philosopher, and Schaunard, a musician, who brings food, fuel, and funds he has collected from an eccentric nobleman. As the others depart to revel at the Café Momus, Rodolfo remains behind to finish an article, promising to join them later. There is another knock at the door—the visitor is Mimì, a pretty neighbor, whose candle has gone out in the stairwell. As she enters the room, she suddenly feels faint. Rodolfo gives her a sip of wine, then helps her to the door and relights her candle. Mimì realizes that she lost her key when she fainted, and as the two search for it, both candles go out. Rodolfo finds the key and slips it into his pocket. In the moonlight, he takes Mimì’s hand and tells her about his dreams. She recounts her life alone in a lofty garret, embroidering flowers and waiting for the spring. Che gelida manina Click the video to listen! Rodolfo meets Mimi for the first time when she knocks on the door for a light for her candle. When she drops her key in the dark, Rodolfo pretends to look for it and their hands meet. Instantly in love with her, he sings to Mimi of his dreams. This number is an aria (solo song that is often full of emotion) per- formed by a tenor (highest male voice). Rodolfo’s friends call from outside, telling him to join them. He responds that he is not alone and will be along shortly. Happy to have found each other, Mimì and Rodolfo leave, arm in arm, for the café. SYNOPSISPre-Performance ACT II Amid the shouts of street hawkers near the Café Momus, Rodolfo buys Mimì a bonnet and intro- duces her to his friends. Opening Chorus Click the video to listen! Merchants and children and towns- people are in the busy street market. This number is sung by the chorus (a large group of opera singers) They all sit down and order supper. The toy vendor Parpignol passes by, besieged by children. Mar- cello’s former sweetheart, Musetta, makes a noisy entrance on the arm of the elderly, but wealthy, Alcindoro. The ensuing tumult reaches its peak when, trying to gain Marcello’s attention, she loudly sings the praises of her own popularity. Quando me’n vo Click the video to listen! Musetta is Marcello’s ex and runs into him at the market. Marcello, baritone or lowest male voice, is visibly shaken by seeing her -he’s not over her yet- and she knows it. In this aria, she sings about the joy that all the attention she receives from being so beautiful brings her. This is a soprano (highest female voice) aria. Sending Alcindoro away to buy her a new pair of shoes, Musetta finally falls into Marcello’s arms. Soldiers march by the café, and as the bohemians fall in behind, the returning Alcindoro is presented with the check. SYNOPSISPre-Performance ACT III At dawn at the Barrière d’Enfer, a toll-gate on the edge of Paris, Mimì arrives searching for the place where Marcello and Musetta now live. When the painter appears, she tells him of her distress over Rodolfo’s incessant jealousy. She says she believes it is best that they part. As Rodolfo emerges from the tavern, Mimì hides nearby. Rodolfo tells Marcello that he wants to separate from Mimì, blaming her flirtatiousness. Pressed for the real reason, he breaks down, saying that her illness can only grow worse in the poverty they share. Overcome with emotion, Mimì comes forward to say goodbye to her lover. O buon Marcello Click the video to listen! Mimi sings in duet with Marcello about her despair over Rodolfo breaking up with her because he can’t bear losing her to her illness. This number is a duet (a song for two singers) Marcello runs back into the tavern upon hearing Musetta’s laughter. While Mimì and Rodolfo recall past happiness, Marcello returns with Musetta, quarreling about her flirting with a customer. They hurl insults at each other and part, but Mimì and Rodolfo decide to remain together until springtime. ACT IV Months later in the garret, Rodolfo and Marcello, now separated from their girlfriends, reflect on their loneliness. Colline and Schaunard bring a meager meal.

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